Ghashiram Kotwal (1976)
Director: K. Hariharan, Mani Kaul, Saeed Akhtar Mirza, Kamal Swaroop, YUKT Film Collective; Writer: Vijay Tendulkar; Producer: YUKT; Cinematographer: Binod Pradhan, Rajesh Joshi, Manmohan Singh, Virendra Saini; Editor: Kamalendra Mundul, Ravindra Gupta, Ashok Tyagi; Cast: Mohan Agashe, Rajani Chavan, Om Puri, Vandana Pandit, Shriram Ranade, Ravindra Sathe
Duration: 01:43:34; Aspect Ratio: 1.333:1; Hue: 47.801; Saturation: 0.035; Lightness: 0.392; Volume: 0.081; Cuts per Minute: 2.240; Words per Minute: 3.157
Summary: This remarkable avant-garde experiment in collective film-making is based on one of the most celebrated plays in contemporary Indian theatre, staged in 1972 by the Theatre Academy, Pune (members of which participate in the film’s cast). The play used Marathi folk forms like the Gondhal and the Keertan in an elaborately choreographed musical featuring the legendary Nanasaheb Phadnavis, the prime minister of Peshwa Madhavrao II and the real power behind Maharashtra’s Peshwa throne (1773-97). The original play, a transparent allegory referring to Indira Gandhi’s reign, was adapted in order to comment on Maratha and Indian history, starting from the enthronement of the child Peshwa Madhavrao II, until the final decline of the empire and the arrival of the British (cf. Ramshastri, 1944). It presents the decadent Nanasaheb (Agashe) and his lieutenant Ghashiram (Puri), a Brahmin from Kanauj, whom he uses to mount a reign of terror in the capital city of Pune. The main plot concerns Nana’s spy network, the rout of the British at Wadgaon (1779), Ghashiram’s rise and his fall when Nana sacrifices him, and the popular revolt against Nana’s henchman leaving the prime minister (and true culprit) unscathed. The film’s main significance resides in the way it adapts theatre to investigate cinema itself, a point underlined by the chorus at the beginning of the movie and, at the end, the quote from Glauber Rocha’s Antonio das Mortes (1969) as the sutradhara (chorus) suddenly enters into the present when a truck leaves the quarry. The collective of former FTII students made one more film, Saeed Mirza’s debut
Arvind Desai Ki Ajeeb Dastaan (1978) before folding. Ghashiram Kotwal itself was subject to a court order from the bank which loaned the production finance, delaying its general screening after the premiere in Madras in January 1977.
The scene shows a dark background with a block of text in white, providing information about the digitization of a film. The text mentions the film "GHASIRAM KOTWAL" and details about its digitization process in 2013. It notes that the only available print was a German subtitled version from the Arsenal Institute for Film and Video Art archive. The original negative was damaged, and the print underwent corrections during digitization. The text also mentions mechanical and printed defects. The geographic location is not clearly discernible, but it appears to be related to film archives or institutions.
Ghashiram Kotwal has a CBFC certificate dated 12th August 1977.
The image shows a certificate issued by the Central Board of Film Censors, dated 12th August 1987. The certificate is for a film titled "Ghashiram Kolwal (Marathi)," which is 55 minutes and 47 seconds long. It mentions that the film is in Marathi language and has a color format. The certificate is issued in Bombay, India, and the film is rated as suitable for audiences aged 12 and above. The certificate also includes the signature of K.S. Rangarajan, the chairman of the board.
The image shows a certificate issued by the Central Board of Film Censors, dated 11-8-1987. The certificate is for a film titled "Ghashiram Kolwal," which is a Marathi movie. The certificate mentions the film's length as 854 minutes and its color format. The certificate is issued in Bombay, India, and includes the seal of the Central Board of Film Censors.
From the interview with Krishnan Hariharan conducted by Shai Heredia one learns that the film was screened “for a select bunch of film critics and cineastes in Bombay” in mid-July 1977 – and that the reaction was quite discouraging.
“It was obviously not like the play; it was not a typical Mani Kaul film; it did not have a clear-cut message like most parallel films in India had.”
The film did not find theatrical distribution, and after two festival screenings (in the Indian International Film Festival Filmotsav’78 held in Chennai in January 1978 and the International Forum of Young Cinema, Berlin in February 1978), it more or less disappeared from view till its serendipitous re-discovery and restoration in 2013.
https://indiancine.ma/documents/BRQ
Marathi experimental theatre in cinema
The image shows a stylized, abstract representation of a human figure in a dynamic pose, seemingly in motion. The figure appears to be painted in a reddish-pink hue, with a bold and expressive brushstroke style. The figure's posture suggests a sense of balance and fluidity, with one leg bent and the other extended. The background is a plain, light gray, which contrasts with the vivid color of the figure.
The figure appears to be located in a setting that could be urban or modern, given the abstract and artistic style. There are no clear indicators of a specific geographic location in the image.
The text in the image is in a stylized script, possibly a form of calligraphy or artistic lettering. The text appears to be in a language that uses non-Latin characters, but due to the stylized nature, it is challenging to identify the exact language or script.
In this regard, the film is markedly different from its “inspiration”, Vijay Tendulkar’s Marathi play Ghashiram Kotwal, one of the most famous post-Independence Indian plays with more than 2000 performances in the last 42 years in various Indian languages.
The play was staged for the first time on 16.12.1972 by the Progressive Dramatic Association under the direction of Dr. Jabbar Patel in Pune. The production became the subject of intense controversy involving newspaper debates, street demonstrations, demands for banning all performances and destroying printed copies, court cases and threats of physical violence to the playwright and the cast (some of which were carried out in reality). The stormy events eventually led to a split in the PDA with the young members forming the Theatre Academy which continued to perform the play after 1974.
Tendulkar had characterized his play as trans-historical, stressing its allegorical nature. “ Ghashirams are creations of socio-politicalforces which know no barriers of time and place. Although based on a historical legend, I have no intention of commentary on the morals, orlack of them, of the Peshwa, Nana Phadnavis or Ghashiram. The moral of this story, if there is any, may be looked for elsewhere”. It was clear to the spectators however that the Nana-Ghashiram dynamic paralled the formation of the Shiv Sena in 1966, its use by the ruling Congress dispensation to break the trade union movement (including the murder of Comrade Krishna Desai in June 1970) and the subsequent deployment of communal and anti-outsider violence that created a pervasive atmosphere of fear.
The image shows a group of people dressed in traditional attire, with one individual wearing a mask resembling a deity. The background is a plain blue wall, and the people appear to be engaged in a cultural or religious activity. The text in the image reads, "The cymbals crash, the drums roll." This suggests a setting related to a cultural or religious celebration, possibly in a region where such traditions are common.
The image shows a person wearing a white outfit with a red and white scarf draped over their shoulders. They are gesturing with their hands, and another person is visible in the background, seemingly engaged in an activity involving a wall. The setting appears to be indoors, with a blue wall and a concrete pillar visible. The possible geographic location is a rural or semi-urban area, possibly in a region where traditional attire is common.
Yukt Film Cooperative (Limited), Pune, presents - inspired by the celebrated Marathi play Ghashiram kotwal
The image shows a red background with text written in black Marathi script. The text appears to be informative, possibly related to a local or regional organization. The text mentions "Maharashtra" and "Pune," suggesting that the content is related to this region.
thanks
The image shows a red and white background with a list of names written in black text. The names appear to be of individuals or institutions, possibly related to a specific region or area. The names are written in a script that resembles Devanagari, which is commonly used in languages such as Hindi and Marathi. The list includes names like "Ahmar," "Piles and Television Institute," and others, suggesting a list of locations or entities. The geographic location is likely in India, as the script and names suggest a connection to the Indian region.
The image shows a red background with a white shape resembling a kite or a bird in flight. The white shape is positioned diagonally across the image. There is text in a script that appears to be Marathi, written in black on the red background. The text is arranged in a vertical column on the right side of the image. The geographic location is likely in Maharashtra, India, based on the script and the content of the text.
'Financed by Dena Bank'
The image shows a red background with black text written in a script that appears to be Devanagari. The text is written in two lines, and there is a logo or symbol in the top left corner. Below the text, there is a line of English text that reads, "Financed by Dena Bank." The setting appears to be outdoors, possibly in a region where Devanagari script is commonly used.
Screenplay/Dialogue: Vijay tendulkar, Music: Bhaskar Chandavarkar
The image shows a red background with black text written in a script that appears to be Devanagari. The text is arranged in a vertical format, and there are visible signs of wear or damage on the right side of the image. Below the main text, there is smaller text that reads, "Written by Vijay Tendulkar" and "Music by Bhasakar Chandavarkar." The overall appearance suggests a cultural or artistic context, possibly related to a performance or a literary work. The geographic location is not clearly discernible, but the script and style suggest it could be from India or a region where Devanagari script is used.
The image shows a wall with a red paint splash on the left side. On the right side, there is text written in a script that appears to be Devanagari, which is commonly used for languages like Hindi and Marathi. The text is black and appears to be printed or painted on the wall. The text is arranged in a vertical column. The geographic location is likely in India, as the script and style of the text suggest it is in a region where Devanagari script is used.
The image shows a red and white background with a large, abstract shape resembling a flag or a banner. The text is written in black, with some parts in Hindi and others in English. The Hindi text reads, "जहिरात सहाय," which translates to "Joint Cooperation" in English. The English text below it reads, "Cooperating and working together." The text also mentions "Sano Sasan," "Rano Sahab," and "Sumeh Sab," which could refer to specific organizations or initiatives. The design and text suggest a focus on unity and collaboration, possibly in a political or community context. The geographic location is not explicitly clear, but the text and design may imply a connection to India or a region with similar cultural and linguistic influences.
The image shows a red and white background with a textured red area at the bottom. The top portion is mostly white, and there is a list of text written in black, which appears to be in a script resembling Devanagari. The text is arranged in a vertical column on the right side of the image. The red area at the bottom suggests a geographical or cultural significance, possibly representing a region or a symbolic element.
The image shows a vertical strip of red paint or liquid on the right side, with a beige background. The red area appears to be splattered or dripping, creating an irregular pattern. The beige background has faint text written in a script that resembles Devanagari, which is commonly used in languages such as Hindi, Marathi, and Sanskrit. The text is arranged in a column on the left side of the image. The text is not entirely legible due to the faintness of the writing. The geographic location is not discernible from the image.
Most of the 40 odd credited actors in the film came from the Theatre Academy. According to Hariharan, members of the YUKT collective and the actors underwent a six-day workshop with Badal Sircar before shooting began, with an emphasis on stillness rather than movement. “It was thanks to him that we learnt the importance of freezing action at appropriate moments in the film, as an interesting device to counter the idea and the basic activity of the motion picture itself”.
The image shows a group of performers dressed in white and red attire, standing on a raised platform supported by wooden stools. They appear to be engaged in a coordinated performance, with some gestures and movements suggesting a theatrical or cultural presentation. The backdrop features a painted stage design with a rectangular frame and a red emblem at the top. The audience, seated in the foreground, is partially visible, suggesting a live performance setting. The geographic location is likely a rural or small-town venue, possibly in a region where such traditional performances are common.
The image shows a group of individuals dressed in traditional attire, with white garments and red caps, standing on a stage. The backdrop appears to be a painted or constructed structure with a carved emblem at the top. The setting suggests a cultural or ceremonial event, possibly in a region where such attire is common.
First documentary sequence of low-caste 'workers'
The image shows two individuals working together, with one person holding a tool and the other assisting. They appear to be engaged in manual labor, possibly in a rural or outdoor setting. The environment is dusty, and the individuals are dressed in simple clothing. The text in the image reads, "Just plain working people."
The image shows a group of people standing together, with one person holding another's hand. The scene appears to be outdoors, with a smoky or misty atmosphere. The ground is uneven, and the people are wearing light-colored clothing. The setting suggests a rural or semi-urban area, possibly in a region where such gatherings are common.
The image shows a misty, foggy environment with a faint silhouette of a person or object on the left side. The background is hazy, and the visibility is low, making it difficult to discern details. The scene appears to be in a rural or natural setting, possibly near a body of water or in a forested area. The text in the image reads, "Day after day, the same old grind."
The image shows a plain, light-colored surface with a subtle gradient. There is no distinct object or feature visible, and the surface appears smooth. The area seems to be indoors, possibly in a room with neutral-colored walls.
The image shows a smoky and dusty environment with a person in the background. The ground appears uneven and rocky, with debris scattered around. The visibility is low due to the smoke, and the person seems to be moving or working in the area. The text in the image reads, "Their wages: they always fall short."
The image shows a circular, cylindrical object with a hole in the center, surrounded by a metallic structure. Water is flowing over the object, and steam is rising from it. The surrounding area appears industrial, with wooden and metal components visible. The scene suggests a location where water and heat are involved, possibly a factory or a processing facility.
The image shows a person working with a tool, possibly a hammer, in a dimly lit environment. There are trees in the foreground, and a rustic, stone-walled structure in the background. The person appears to be engaged in some form of manual labor, possibly related to construction or repair. The setting seems rural, with natural surroundings and a simple, earthy aesthetic.
The image shows a rustic wooden wheel with a central metal hub, possibly part of a cart or wagon. The wheel appears weathered and aged, with visible wear and tear. The background is blurred, but it suggests a rural or outdoor setting. The text in the image reads, "Don't dare bring into it the pains of life."
The image shows a dense, light-colored, textured area resembling a natural or artificial structure, possibly a coral or sponge-like formation. The area appears to be underwater, with a soft, organic appearance. The text in the image reads, "Guaranteed to be false!"
The image shows a person shaping clay on a spinning pottery wheel. The hands are actively molding the clay into a cylindrical form. The scene is set outdoors, with natural light illuminating the activity. The person appears to be working in a rural or artisanal setting, possibly in a region where pottery is a traditional craft.
The image shows a dark, circular area with a blurred background. There is a faint, circular shape in the center, possibly representing a lens or a reflective surface. The text in the image reads, "Time is the invisible hero in the conflict between picture and sound." The scene appears to be indoors, possibly in a dimly lit room. The text is in English, and it is clear and legible.
Introduction of the sutradhara: the story that will be 'without kings', also introduction of the spectators of theatre and the cinema.
The image shows a group of performers dressed in white costumes with red accents, standing on a raised platform supported by wooden stools. They appear to be engaged in a coordinated dance or performance, with their arms raised and their bodies in motion. The backdrop is a simple, painted stage with a rectangular frame and a decorative emblem at the top. The setting suggests a cultural or traditional event, possibly taking place in a community hall or similar venue. The audience is seated in the foreground, watching the performance attentively.
At the center of the controversy around the play was the charge made by conservative forces that Tendulkar was distorting history and libelling the character of Nana Phadnavis the 18th century statesman who, in their view, had held the Maratha kingdom together and kept the expantionist East India Company at bay.
Tendulkar consistently defended himself against his right-wing critics by claiming that he had never written a “historical play”. For him, in relation to the historical characters, “to investigate whether their actions were proper or improper, and whether their existence was fundamentally meaningful or not, may be the business of the scholar of history, but it is not the playwright’s business. It is for this reason that I consider Ghashiram Kotwal an a-historical play.”
The innovative anti-naturalistic dramaturgy of the play which fused multiple folk traditions is carried over intermittently into the film as well, but the YUKT collective adopts a more decidedly “historical” approach - complete with title-cards summarizing the political intrigues, dates of treaties, birth and deaths and a Narrator who comments upon as well as participates in various events.
The image shows a person standing in a dimly lit environment, wearing traditional attire with a red head covering. The surroundings are dark, and the person appears to be holding something in their hands. The text in the image reads, "But who are you?" The setting seems to be in a rural or culturally significant area, possibly in a region where such traditional clothing is common.
The image shows a person standing in front of a large rectangular frame, dressed in traditional attire with a red turban. The background is dark, and the frame appears to be part of a stage setup. There are several stools arranged in front of the frame, and the person is gesturing with one hand. The setting suggests a performance or theatrical event. The possible geographic location is a region where traditional attire like this is common, possibly in South Asia or the Middle East.
Of interest to note that the film says 'inspired by' the original play.
The image shows a red background with black text written in a script that appears to be Marathi. The text is organized into several lines, with the topmost line containing a name and location in parentheses. Below, there is a larger block of text in Marathi, followed by a smaller line of text in English. The English text mentions an inspiration from a theatrical academy. The geographic location mentioned in the Marathi text is Pune, which is a city in the state of Maharashtra, India.
Excerpts from Nana Phadnavis' autobiography.
Unlike the predominantly hagiographic histories of late 18th century Western India written by upper caste historians like Khare, Rajwade et al in Marathi or the predominantly denigratory histories written by colonialist historians like James Grant Duff, Montstuart Elphinstone et al in English, the film seems to anticipate at least some of the positions of Subaltern Studies (1982ff) addressing the oppressed lives of social groups such as bonded labour and trying to give it a “voice” in the midst of the machinations of the rich and the powerful.
Even when the film is tracking the conventional narrative of the decades after the 3rd battle of Panipat (1761) delineating the shifting power relations between the Brahmin dominated center of Pune and the Maratha powers (primarily represented by Mahadji Shinde) it also focuses on the emergence of the English as the main competitor on the subcontinent. As the Narrator declares, this will be a different kind of film.
The image shows a person partially hidden among tall, dry vegetation. The individual appears to be wearing a light-colored shirt and is surrounded by what looks like a field of dried plants. The setting seems to be a rural or agricultural area, possibly in a region with dry climates.
The image shows a rural area with young trees planted in rows, surrounded by dry soil and vegetation. In the background, there is a field of crops, possibly corn, and a dense tree line. The scene appears to be in a temperate region, possibly in a farming community. The text in the image reads: "He touches without hands. He hears without ears."
The image shows a person standing near a large tree, with another person visible in the background. The setting appears to be outdoors, with a natural landscape featuring trees and a dirt path. The person in the foreground is wearing a light-colored garment and appears to be looking away from the camera. The text in the image reads, "I was seized by guilt and remorse."
The image shows a person standing in a dark, open space, surrounded by a faint glow. The person appears to be wearing a simple outfit, and their posture suggests they are relaxed or possibly engaged in a conversation. The background is minimal, with no visible structures or objects, giving the impression of an outdoor or natural setting. The lighting is soft, creating a calm and serene atmosphere.
The image shows a person standing on a stone platform surrounded by greenery. The individual is dressed in a light pink outfit and appears to be holding something in their hands. The background includes trees and a body of water, suggesting a natural setting. The stone structure looks like it could be part of a historical or cultural site.
Introduction of the Gangabai charavter, who will bear the future king, Madhavrao.
Following the death of Peshwa Narayanrao in 1773, Nana Phadnavis managed the affairs of the state with the help of a twelve member regency council (the Baarbhai), whose primary purpose was to protect the unborn son of son of Narayanrao. The son, Madhavrao II, was borne posthumously to Gangabai. The Council was an alliance of influential Sardars including Haripant Phadke, Moroba Phadnis, Sakarambapu Bokil, Trimbakraomama Pethe, as mentioned by the sutradhara.
The image shows a brick wall with a wooden window frame. A person in traditional attire stands in front of the window, while two others are visible inside the room, looking out. The scene appears to be set in a historical or rural environment, possibly in a region with a warm climate. The text in the image reads: "The next heir should emerge from her womb."
The image shows a person wearing a white garment with a black head covering, standing in an outdoor setting. The background appears to be a blurred, sandy area with some structures or objects in the distance. The person is facing slightly to the left, and there is a faint sense of movement or activity in the background.
The image shows a group of individuals gathered in a circle, seated on a patterned red carpet. They are wearing traditional attire, including red caps and white garments, with some individuals also wearing colorful turbans. The setting appears to be indoors, with a warm and intimate atmosphere. The group seems engaged in a discussion or activity, with one person gesturing towards the center of the circle. The room has a rustic feel, with visible wooden beams and a soft light illuminating the scene. The possible geographic location could be a region in Central Asia, such as Afghanistan or Pakistan, based on the traditional clothing and the style of the carpet.
Further excerpts from Nana Phadnavis' autobiography. The Peshwa takes over power, which is centered entirely in Nana's hands, eventually to become a power struggle between the Brahmins and Marathas.
The image shows a person walking away from the camera, wearing a light-colored garment that drapes over their body. The background consists of a brick wall with shadows cast by nearby trees, suggesting an outdoor setting. The ground appears to be paved, and the lighting suggests it is daytime. The text in the image reads, "We set off at night."
The image shows a dark background with a glowing script in a language that appears to be Marathi. The script is written in a flowing style, with some parts highlighted in a lighter color. Below the script, there is a line of English text that reads, "But later the Peshwa himself became a non-entity, and Nana wielded power." The scene suggests a historical or cultural context, possibly related to Marathi literature or history.
The image shows a dark background with white text written in a script that appears to be Devanagari. The text is accompanied by a small English caption at the bottom, which reads: "Featuring Shrimant Nana and the Brahmins." The scene appears to be indoors, possibly in a cultural or religious setting.
The image shows two individuals walking along a stone pathway surrounded by greenery. One person is wearing a red outfit, while the other is dressed in a light-colored garment. The pathway appears to be part of a larger outdoor area, possibly a garden or a temple complex, with a brick wall and trees in the background. The scene suggests a serene and natural environment.
The image shows a person dressed in traditional attire, sitting on a tree branch with one leg extended and the other bent. The individual is pointing outward with one hand while holding onto the branch with the other. The background consists of lush greenery, including trees and foliage, suggesting a rural or forested area. The text in the image reads, "My dear sir, this is what they term a ritual."
The image shows a group of people walking outdoors, dressed in traditional attire. The setting appears to be a rural or semi-urban area with greenery and steps visible in the foreground. The individuals are wearing white clothing with red accents, and some are carrying items such as baskets. The background includes trees and a stone wall, suggesting a natural environment. The scene seems to be in a region where traditional clothing is common, possibly in South Asia or a similar area.
The image shows a group of tall, slender trees with thick trunks, standing in a shaded area. The ground appears to be a mix of dirt and grass, and there are more trees in the background. The sky is visible through the gaps between the trees, and it appears to be a clear day. The area seems to be a natural setting, possibly a park or a forest.
The song of the Mahar is preceded by a satirical expose of the Kulkarni, the traditional accounts-keeper in a village in the western India, and it brings to mind the long-standing critique of this office by the non-Brahman movement spearheaded by Mahatma Jotirao Phule:
In the most insignificant village as in the largest town, the Brahmin is the all in all; the be all the end all of the Ryot. He is the master, the ruler. The Patil of a village, the headman, is in fact a nonentity, the Kulkarni, the hereditary Brhmin village accountant, the notorious quarrle-monger, moulds the Patil according to his wishes. He is the temporal and spiritual adviser of the ryots, the Sawkar in his necessities and the general referee in all matters. (Gulamgiri/Slavery)
The film Ghashiram Kotwal like Tendulkar’s play, is part of the centuries old discursive conflict between forces of Brahmanical supremacy and the lower castes which consistently opposed their hegemony. The story of Ghashiram and Nana certainly did not originate with Tendulkar. As early as 1810, Edward Moor’s Hindu Pantheon gives a detailed account of Ghashiram’s public execution and concludes:
"Sir Charles Malet, and Mr. Uhthoff, were at Poona and were much affected by so deplorable an event, aggravated by the consideration, that it should have been effected by Brahmans; a Brahman, the sufferer, defiling almost the waters of a tank, and the holy shrine of a temple of his own foundation; and this at the seat of government, and that government Brahmanical, -thus' orced to witness a degradation unheard of perhaps in the history of their sect."
Against this attitude we have one of the first modern Marathi prose narratives in Moroba Cannoba Vijaykar’s Ghashiram Kotwal (1863), which delights in tales of Ghashiram’s idiocy and perfidy and insinuates that he attained his office by prostituting his daughter to Nana.
Two individuals dressed in traditional attire walk along a path beside a tree and a brick wall. One wears a white outfit with a red turban, while the other is in a white garment with a purple turban. The setting appears to be rural, with a natural and rustic environment.
The image shows a dark background with a faint, glowing text in a script that appears to be Marathi. The text is written in white and is legible despite the darkness. Below the Marathi text, there is a line of English text that reads, "And now that rightful slave in the KulKarmi Raj..." The English text is also white and stands out against the dark background. The scene seems to be set in a dimly lit environment, possibly outdoors or in a place with minimal lighting. The text suggests a historical or cultural context, potentially referencing a ruler or a region named KulKarmi Raj.
The image shows a person climbing a tall brick building with a ladder attached to its side. The individual is wearing light-colored clothing and appears to be focused on their ascent. The structure is made of bricks, and the scene suggests an urban or industrial setting. The text in the image reads, "Eat chaff when you are hungry."
The image shows a partially destroyed building with exposed brickwork and a damaged roof. The structure appears to be in a state of disrepair, with debris scattered around. The sky is overcast, and there is a faint mist or smoke near the base of the building. The text in the image reads, "Do come and taste slavery!"
It is puzzling however, why the film continues to imply that Nana Phadnavis and the Brahmans of Pune were wallowing in decadence by repeatedly framing them against a dancing courtesan. 19th century intellectuals stigmatized and marginalized lower caste performance forms and incorporated Victorian standards of morality labeling folk forms like Lavani and Tamasha as obscene and indecent. Is it possible that Tendulkar’s script (with inputs from an all-male YUKT collective) is also guilty of portraying its female charcters only in sexualized terms as temptress/victim? (see Sharmila Rege. “The Hegemonic Appropriation of Sexuality: The Case of the Lavani Performers of Maharashtra” )
An oblique scene between Nana Phadnavis and Gangabai, the pregnant young widow of the murdered Peshwa Narayanrao ends with Nana closing the windows of the room and a close-up of Gangabai’s bloodied fingers.
At such moments, one can’t help wondering if the film is in some way perpetuating the gossip started by colonial writers like John Briggs and Archibald MacDonald that Nana had an affair with Gangabai and that Peshwa Madhvrao II was Nana’s illegitimate son.
"although a profound secret at the time, the young widow was deeply enamoured of Nana Farnavis… Gangabai was the cause of her own death, by having taken medicine for the purpose of concealing the consequence of her illict intercourse with Nana Farnavis...This the family deny, but the personal likeness between Nana and the young Peshwa leaves room for doubt".
The image shows a person standing in a room with white walls and a large window in the center. Outside the window, there is a view of trees and greenery. The person appears to be wearing traditional attire, and their posture suggests they are engaged in a conversation or activity. The room has a simple, rustic design, possibly indicative of a rural or historical setting. The text in the image reads: "Your husband, the Peshwa, was well disposed towards me."
The image shows a silhouette of a palm tree against a hazy sky, with a faint outline of distant trees and buildings. The scene appears to be in a tropical or subtropical region, possibly near a coastal area. The text in the image reads: "He arrived there a little later."
The image shows two individuals in traditional attire. One person is standing, holding an object, while the other is seated on the floor, holding a small item. The standing individual is wearing a white garment with a black sash, while the seated person is dressed in a light pink outfit. The background features a wooden door and a plain wall. The setting appears to be indoors, possibly in a rural or traditional household.
The image shows a person in a dimly lit environment, with a soft light illuminating part of their face and clothing. The background is dark, and there is a faint light source visible in the distance. The person appears to be wearing traditional attire, possibly a sari, with visible patterns on the fabric. The setting seems to be indoors, possibly in a rural or traditional area.
The image shows a person dressed in traditional attire, with a soft, warm light illuminating their face. The background appears to be indoors, with a subtle, elegant setting. The person is wearing a pearl necklace and earrings, suggesting a formal or ceremonial occasion. The text in the image reads, "But on the orders of His Highness Madhav Rao."
The image shows a group of individuals wearing traditional attire, including turbans and robes, gathered indoors. The setting appears to be a cultural or religious gathering, with some people standing and others seated. The lighting is dim, and the room has a modest, enclosed appearance. The individuals seem engaged in conversation or a shared activity. The geographic location seems to be in a region where such attire is common, possibly in South Asia or the Middle East.
The image shows a group of people dressed in white clothing with red turbans, gathered in a circular formation. Some individuals are seated on the floor, while others are standing. A few people are holding musical instruments, and there is a sense of movement and activity. The setting appears to be indoors, with a wooden structure visible in the foreground. The scene seems to be a cultural or musical gathering, possibly in a region where such attire is common.
The image shows a group of people dressed in traditional white garments with red accents, gathered around a person lying on the ground. The setting appears to be indoors, with a wooden floor and a backdrop of pillars. The individuals are engaged in what seems to be a ceremonial or communal activity, with some holding red objects and others standing in a circle around the person on the ground. The scene suggests a cultural or religious gathering, possibly in a region where such attire is common.
The first of the series of plan-sequences on the plain: the direct reference to Jancso's cinema.
The annointing of the child Madhavrao, and the desertion of Raghoba (Raghunathrao Peshwa). The arrival of Ghashiram.
The image shows a person holding a small metallic pot with a spoon, which appears to contain some liquid. The person is wearing a red and white striped garment, and there is a green leaf attached to the pot. The background is blurred, but it seems to be an outdoor setting with a sandy or dusty surface. The person might be participating in a ritual or ceremony, as suggested by the attire and the object they are holding.
The image shows a blurred view of a person with a red headband or hair accessory. The background appears to be light-colored, possibly white or cream. The person's face is not visible, and the image is out of focus. The possible geographic location is not discernible.
The image shows a group of people dressed in traditional attire, with some wearing white garments and others in red and brown. They appear to be engaged in a ceremonial activity, with one person holding a green object aloft. The setting is outdoors, with a mountainous landscape in the background and a clear sky overhead. The scene suggests a cultural or religious gathering in a rural or desert area.
The image shows a person walking alongside a horse on a sandy path, with another person riding a horse in the background. The terrain is dry and hilly, with sparse vegetation visible. The person walking is wearing a white outfit and a red turban, while the rider is dressed in darker clothing. The scene appears to be in a rural or desert-like area, possibly in a region with arid climates.
The image shows a person standing in a dimly lit room, with a soft glow emanating from a nearby lamp. The individual is dressed in traditional attire, with a shawl draped over their shoulders. The room has a rustic and simple aesthetic, with wooden furniture and a few decorative items visible. The person appears to be engaged in a quiet activity, possibly reading or writing. The setting suggests a rural or semi-urban environment, with a focus on simplicity and tradition.
Saeed Akhtar Mirza would later write:
The grammar and language of the film is still being tortuously understood all over the world, as individual artists create their works hesitantly. Artists like Godard, Antonioni, Rocha, Ghatak, Bertolucci, Resnais, Coppola, Oshima, Ozu, Fellini, Scorcese, Chris Marker, Pontecorvo, Solas, Jansco have groped and faltered. No position is final or absolute. Any film maker in India who ignores the achievenments and progress occurring all over the world, does so at his or her own peril. The important point to note is that even where film makers have failed, one learns. A relevant failure is, perhaps, more important than a minor success.
In this context, a film which can be considered as a relevant failure is the Marathi film made by the Yukt Film Co-operative Society, Ghashiram Kotwal. The film failed to combine the epic quality of history (if history is to be understood correctly, as changes occurring through shifts in socio-economic forces rather than
through the individual machinations of kings and emperors) and the epic quality of cinema-cinema with an epic time and space scale, where cinema deals with ideas and forces and their growth over time. Individual psychological events and motivations pale into insignificance and can only be dealt with as products of a time. Change is the essence of this cinema as graphically revealed in the works of Jansco. Historical processes reveal the nature of
things as they are, not static but with a past and a future. This kind of cinema also needs a scale of operation, a vastness of approach. Perhaps the greatest drawback of Ghashiram Kotwal was its low budget. If its budget could match its conception, the film might have achieved much more.
Saeed Akhtar Mirza, 'Outlook for the Cinema', Social Scientist, Vol. 8, No. 5/6, [Marxism and Aesthetics] (Dec., 1979 - Jan., 1980), pp. 121-125
K. Hariharan, one of the co-directors of the film, later said:
'Cinema can tell the truth only when it becomes transparent to reveal itself as a language and as an apparatus at the same time. Since the viewers have the ability to ‘consume’ all the elements in the image (actors, props, location) in a reasonably fast time, the long take makes the viewers realise the sheer physicality of the image or one’s own sheer existence for its own sake. After a while, viewers are virtually staring at the image for the sake of the image without any expectations or motive, like a pure musical note or the long outstretched walls of an Indian temple. We wanted to seek a space and time which was its own form and content. Through this form and content we wanted to excite the viewer’s need to slip out of the standard mythical story of heroes and villains and enter the greater domain of real history' - interview with Shai Heredia, brochure of the Arsenal DVD
Single shot showing Ghashiram's arrival.
The image shows a group of people dressed in traditional white clothing with red accents, standing in an open, dry area with sparse vegetation. The background features a rocky hill or cliff, and a few scattered trees. The people appear to be engaged in conversation or a gathering.
Extended reference to bonded labour - and the right of such labourers, working in the ravines, to 'run away' and find freedom only in some other form of bonded labour.
The image shows a pile of large, angular rocks scattered across a rugged terrain. The rocks vary in size and appear to be weathered, with some showing signs of erosion. The area seems to be a rocky, uneven landscape, possibly a mountainous or desert region. There is no visible vegetation or water, and the rocks dominate the scene.
The image shows a rugged terrain with a mix of rocky and sandy surfaces. The area appears to have a rough, uneven texture with visible cracks and crevices. The colors are predominantly shades of gray, with some hints of blue and green. The terrain seems to be dry and barren, with no vegetation visible. The geographic location appears to be a desert or arid region, possibly in a region with rocky formations.
The image shows a rugged, rocky terrain with scattered boulders and uneven ground. There is a large cliff or rock formation in the background, with a mix of light and dark colors. The area appears dry and barren, with no vegetation visible. The geographic location seems to be a desert or arid region, possibly in a mountainous or rocky region.
The image shows a rugged, rocky landscape with a prominent rock formation in the foreground. The terrain appears dry and barren, with scattered rocks and a clear sky in the background. The rock formation has a layered appearance, with visible cracks and crevices. The area seems to be a desert or arid region, possibly in a remote or uninhabited location.
The image shows two individuals working in a rocky, uneven terrain. One person is standing on a large rock, using a tool to dig or break it, while the other person is standing nearby, observing or assisting. The rocks appear to be of a light color, with some areas showing a bluish tint. The terrain is rugged, with visible cracks and fissures in the rocks. The individuals are dressed in simple, traditional clothing, and the scene suggests a labor-intensive environment, possibly related to mining or quarrying. The geographic location appears to be in a region with a dry climate, as indicated by the rocky, arid surroundings.
The image shows a rugged, rocky terrain with uneven ground and scattered boulders. The area appears dry and barren, with a mix of light and shadow across the landscape. The rocks vary in size and shape, and there is a noticeable cliff or elevated section in the background. The terrain suggests a harsh, arid environment, possibly resembling a desert or a volcanic region.
The image shows two individuals working with tools in a rugged, rocky environment. One person is standing on a large rock, using a tool to break it apart, while the other is below, holding a long stick to assist in the process. The area appears to be a quarry or a mining site, with large rocks and uneven terrain. The background consists of more rock formations, suggesting a mountainous or hilly region. The individuals are dressed in light clothing, suitable for manual labor.
The image shows a rugged, rocky terrain with a mix of large boulders and smaller stones scattered across the ground. In the background, there is a steep, icy cliff face with visible blue and white streaks, suggesting a glacial or mountainous region. The area appears dry and barren, with no vegetation visible. The people in the image are dressed in white clothing, which may indicate a cultural or practical reason for their attire.
The image shows a rugged terrain with large rocks and a deep crevice. A person is standing near the edge of the crevice, looking down into it. There is a significant amount of dust or mist rising from the crevice, obscuring part of the view. The surrounding area appears dry and barren, with scattered debris and a few pieces of cloth or fabric hanging from the rocks. The scene suggests a remote and possibly arid environment.
The image shows a rocky terrain with a person walking along a dirt path. The surroundings are rugged, with large rocks and uneven ground. The person appears to be wearing a light-colored outfit and is walking away from the camera. The area seems to be dry and arid, with a dusty atmosphere. The terrain suggests a mountainous or rocky region, possibly in a desert or semi-desert environment.
The image shows a dark background with white text written in a script that appears to be Marathi. The text is accompanied by a smaller English translation at the bottom. The scene seems to depict a historical or cultural context, possibly related to a labor system. The setting appears to be outdoors, with a focus on a specific event or system mentioned in the text.
The image shows a vast, barren landscape with a prominent crater-like depression in the center. The terrain appears dry and rocky, with a mix of light and dark shades of beige and brown. The crater has steep, jagged edges and a dark opening at its base, suggesting a depth or a void. The surrounding area is flat and stretches out into the distance, with sparse vegetation visible in the far background. The geographic location seems to be a dry, arid region, possibly resembling a desert or a volcanic area.
'Jage sari ratiya' - thumri taken from the original play, used here as a bridge: moving from the ravines and bonded labourers through the celebrations of the young Madhavrao, into the espionage nertwork that Nana sets up, and ending with Nana's plea to Sakharam Bapu to keep the Peshwa together against the Maratha challenge led by Mahadji Shinde.
The image shows a person wearing a traditional orange turban and a cream-colored outfit with intricate patterns. The individual is gesturing with their hand, possibly in conversation or explaining something. The background is dark, with silhouettes of trees and hills visible, suggesting an outdoor setting during the evening or night. The person appears to be engaged in a formal or cultural activity, possibly in a rural or semi-urban area.
The image shows a person wearing a bright orange turban and a yellow garment with intricate patterns. Behind them, there are two individuals in red turbans, standing near a carved wooden structure. The setting appears to be indoors, with a blue wall in the background. The geographic location seems to be in a region where traditional attire like turbans and intricate clothing is common, possibly in India or a nearby area.
The image shows a person wearing a red turban, dressed in traditional attire, standing in what appears to be a dimly lit indoor setting. The background includes a wooden structure and a wall with visible wear. The person's expression is neutral, and the lighting casts shadows across their face. The text in the image reads, "Your paranoia is certainly more inviting."
The image shows two individuals dressed in traditional attire, with one person wearing a red headpiece and the other wearing a red sash. They appear to be engaged in a conversation or interaction, standing near a wooden structure with intricate carvings. The setting suggests a cultural or historical context, possibly in a region known for such attire and architecture.
The image shows a narrow stairway leading up to a dimly lit area. A person is visible at the top of the stairs, partially obscured by shadows. The walls are rough and textured, and the steps appear worn. The scene suggests an older or rustic building, possibly in a rural or historical setting.
The image shows a person wearing a white outfit with a red sash, standing in a dimly lit corridor. The corridor appears to have wooden walls and a slanted ceiling, suggesting it might be an attic or a basement. The person is looking to the side, and there is another figure in the background, also dressed in white with a red sash. The setting seems to be indoors, possibly in a historical or traditional building.
The image shows a dimly lit indoor setting with a group of people gathered closely together. The environment appears rustic, with wooden beams visible in the background. The lighting is low, creating a shadowy atmosphere. The group seems to be engaged in a conversation or activity, though the details are not clear. The text in the image reads, "So why these false excuses? Why?"
The image shows two individuals in a rustic setting. One person is wearing a red turban and white clothing, gesturing with their hand, while the other person is dressed in traditional attire with a headscarf and jewelry. The background consists of wooden beams and a ceiling, suggesting a rural or traditional environment. The possible geographic location could be a village in a region where such attire is common, possibly in South Asia.
The image shows a group of individuals dressed in traditional attire, with one person seated on a swing-like chair, another sitting beside them, and others standing in the background. The clothing is colorful, with patterns and designs that suggest cultural significance. The setting appears to be indoors, with a wooden structure visible in the background. The individuals seem engaged in a conversation or interaction, with one person gesturing toward the seated individual. The scene suggests a cultural or ceremonial gathering.
The image shows a dimly lit room with a rectangular window in the background, through which light is filtering in. Two individuals are present, one facing the window and the other partially visible on the right. The person on the left appears to be wearing a headscarf and a garment of orange and white. The person on the right is dressed in a light-colored outfit, with a visible turban. The setting suggests a traditional or historical context, possibly in a region with a warm climate. The text in the image reads: "Exactly as the Peshuwas did to the kings at Satura."
Introduction of the British East India Company through the Resident Mostyn.
It is interesting to see “white” actors cast for the English characters – unlike the original play with its limited resources. The play had a solitary English man as a silent observer of the decadence and endemic cruelty of Pune in late Peshwa rule. The film ends with shots of English surveyors-underlining the introduction of predatory taxation after the Permanent Settlement of 1793. (Though it also blurs the distinctions ryotwari and zamindari) These fleeting roles are played by James Beveridge (presumably the well-known documentary film maker?) and John Irving (who went on to act as Commisioner Rand in the very different historical film 22 June 1897 made two years later by Nachiket and Jayoo Patwardhan, the costume designers for Ghashiram Kotwal. The crucial role of Thomas Mostyn, the British envoy to the Maratha dominions was played by Tom Alter, a batch senior to Om Puri in the FTII acting course. (ASIDE – Mostyn speaks fluent Hindi and broken Marathi- as Tom Alter did, Om Puri as Ghashiram is not given any speaking lines. While his silence adds to his symbolic role as Nana’s catspaw, it also creates a slightly discordant acting idiom.
The film seemingly avoids the emphasis on sexual corruption that contributed so much to the controversy around the play. Ghashiram’s daughter is absent from the film, instead there is an emphasis on Ghashiram’s importance as a spy in Nana’s political intrigues against local powers as well as the East India Company. According to Hariharan, “We wanted to see how cleverly the first forces of modernity could dislocate the Indian landlords, and eventually render them incapable of offering any form of resistance.”
This point is made with a startling vividness just before the “interval” when the quarrel between Nana and the British resident Mostyn ends with Mostyn looking up towards a pole, and instead of the expected Union Jack, we see electricity cables. Such “anachronisms” are part of the film’s Brechtian approach to the depiction of “history".
The image shows a person wearing a red hat and patterned clothing, standing in front of a wooden door with metal hinges. The door appears to be part of a traditional structure, possibly in a rural or historical setting. The person is facing the door, and the scene suggests a moment of contemplation or preparation.
The image shows a person wearing a red hat and a patterned garment, standing near a wooden door with a metal latch. The person appears to be in a traditional setting, possibly in a historical or cultural location. The architectural details, such as the carved white pillar and the wooden door, suggest a location with traditional craftsmanship.
The image shows a person dressed in traditional attire, standing in front of a wooden door with intricate carvings. The person is wearing a red turban and a red and orange garment. The setting appears to be indoors, with a rustic and historical ambiance. The door has a reddish frame with decorative patterns, and the walls seem to be made of stone or wood. The lighting suggests a dimly lit environment, possibly in a historical or cultural site.
The image shows two individuals standing in a dry, barren area with sparse vegetation. One person is wearing a white robe with a head covering, while the other is dressed in a dark blue coat with gold trim. The terrain appears to be arid, with a mix of dirt and dry grass. The scene seems to be set in a rural or desert-like environment.
The image shows a person standing outdoors in a natural setting. The individual is wearing a dark blue garment with intricate golden patterns on the front. The background consists of rolling hills and sparse vegetation, suggesting a rural or wilderness area. The terrain appears dry and rocky, with some greenery visible in the distance.
The image shows a tree with branches and leaves, partially obscured by a vertical pole. The background appears to be a clear sky, and the tree seems to be in a natural outdoor setting. The scene suggests a rural or suburban area, possibly in a temperate region.
The image shows a plain surface with a small, dark green text written in a script that appears to be Devanagari. The text reads "महाजनर," which translates to "Mahajan." The surface has a slightly textured appearance, with faint marks and scratches visible. The area seems to be indoors, possibly in a room with neutral-colored walls.
The Battle of Wadgaon described in a set of synoptic shots. the Battle itself was between the Marathas led by Mahadji Shinde and the British, championing the claim to the Peshwai of Raghunathrao (Raghoba) . The set of shots have at least three layers, the battle itself (told using the powada form), the lavani, and the 'scorched earth' strategy with which Shinde fought the British. Ghashiram's own entry -menacing the "Marathas" gathered around the bonfire, provides a fourth layer implying that Nana Phadnavis was instrumental in defeating the British and thus downplaying the role of Mahadaji Shinde. The turbulent relationship between the Brahman Nana and the Maratha Shinte is traced throughout the film (culminating in the imprisonment of Nana at the end by Mahadaji's heir Daulatrao Shinde) and continues to cast a long shadow over the cultural politics of Maharashtra even today.
I see a plant with large green leaves growing in a dry, dusty area. The ground appears to be made of compacted dirt, and there is a brick wall in the background. The shadow of a person is visible on the wall, suggesting someone is nearby.
Second of the big 'Jancso' epic sequences of the film.
The image shows a brick wall with two rectangular openings, likely windows or frames, in the middle. The wall is made of reddish-brown bricks, and there is a green cloth or object partially visible at the bottom. In the background, there is a large, dark structure resembling a dam or retaining wall. The ground appears dry and barren, with sparse vegetation. The geographic location seems to be in a rural or semi-rural area, possibly in a region with a dry climate.
The image shows two individuals dressed in traditional attire, with one wearing a maroon outfit and the other in an orange garment. They are standing in front of a brick wall with a rectangular window frame visible. The background reveals a stone or concrete structure, possibly a wall or a dam. The setting appears to be outdoors, with a rustic and rural ambiance.
The image shows a group of people gathered outdoors in a desert-like environment. They are standing around a large fire that is burning brightly, with flames rising into the air. The area is surrounded by tall palm trees, and the sky is clear with a few clouds. The people appear to be wearing traditional clothing, and the scene suggests a communal or ceremonial gathering. The landscape is dry and barren, with sandy ground and sparse vegetation.
The image shows a group of people gathered under a colorful canopy, with one individual standing and gesturing dramatically. The setting appears to be outdoors, with a backdrop of a dusky sky and distant hills. The people are dressed in traditional attire, with some wearing white garments and others in red and orange. The scene suggests a cultural or ceremonial gathering.
The image shows a group of people performing on a stage. The central figure is dressed in a bright yellow outfit, standing in a dynamic pose. Surrounding them are individuals wearing red turbans and white garments, seated or kneeling in various positions. The backdrop is a deep blue, with a decorative border at the top. The setting appears to be a traditional or cultural performance, possibly in a region where such attire is common.
The image shows a group of individuals dressed in traditional attire, with some wearing white garments and red head coverings. They appear to be engaged in a social or ceremonial activity, with some individuals standing and others seated on the ground. The setting seems to be indoors, with a blue curtain in the background and a striped pole visible on the left. The scene suggests a cultural or community gathering, possibly in a region where such attire is common.
The image shows three individuals dressed in white attire with red belts and turquoise head coverings. They appear to be walking in a line, with the background being dark, possibly indicating nighttime or a dimly lit environment. The attire suggests a cultural or traditional style, possibly from a region where such clothing is common.
K. Hariharan says:
In the mid and late eighteenth century, around the time when the American War of Independence, the French Revolution and the Silesian wars between Prussia and Austria were being waged, the Maratha Empire was struggling to hold onto power with the British, French and Dutch knocking on its doors. The odd man out was Nana Phadnavis. He was not royalty, but an accountant who thought he could do a better job than his employers. With all good intentions of serving the people of the Maratha Empire, he was trapped in a web of conflict, and many of them were beyond his control.
- Interview with Shai Heredia, text accompanying release of Arsenal DVD
The Treaty of Wadgaon. Mahadji Shinde re-captures Raghoba who pleads for anointment of his son Bajirao; and the further arrest of Sakharam Bapu.
The image shows a person wearing a red cap and a white garment, standing in a dimly lit environment. The background is dark, with some blurred lights visible. The person appears to be speaking or expressing something. The text in the image reads: "and expressed willingness to retire to Jhansi."
The voice-over and inter-titles announce
"The young Peshwa's mother Gangabai tried desperately to forge a bond of love with her son./ When she failed, she bridged a link with death."
The image of Gangabai staring pensively out of an "open" window brings to mind the earlier sequence when Nana was alone in a room with her and after recounting his closeness with the Peshwa, had closed the window.
Clearly, the film is referring to the gossip about the affair between Nana and Gangabai and the rumor that Peshava Madhavrao II was in fact Nana's illegitimate son.
MacDonald's "Memoir of Nana Farnavis" goes so far as to state "In 1777 Gangabai, the young Peshwa's mother, died. Gangabai was the cause of her own death, by having taken medicine for the purpose of concealing the consequence of her illicit intercourse with Nana Farnavis." This continues to be debated among historians till today.
Gangabai's death.
The image shows a person standing in a doorway, wearing a traditional garment. The structure appears to be a simple, white-walled building with a black frame around the door and a small arched opening on the right side. The surroundings suggest a rural or modest setting.
The image shows a person walking down a dimly lit hallway. The walls are plain and dark, and the ceiling has a series of horizontal lines. The person is wearing a patterned shirt and appears to be moving forward. The hallway seems to lead to a darker area, possibly a room or another section of the building. The lighting is minimal, creating a shadowy atmosphere. The location appears to be indoors, possibly in a residential or commercial building.
The image shows a dimly lit hallway with a narrow passage leading to a darker room. The walls appear to be plain and slightly textured, and the lighting is minimal, creating a shadowy atmosphere. The hallway seems to be in an older building, possibly residential or institutional.
The image shows a person standing indoors, wearing a traditional garment, possibly a sari, with a light-colored fabric. The person is holding a door frame with one hand, and the background appears to be a plain wall. The lighting is dim, and the overall setting seems to be a modest indoor environment. The person's posture suggests they are either entering or exiting a room.
The image shows four individuals dressed in traditional attire, with red turbans and white garments adorned with red and black stripes. They are standing in a row, holding ropes attached to a structure above them. The setting appears to be indoors, with a plain wall and a concrete floor. The individuals seem to be engaged in a cultural or ceremonial activity. The geographic location is likely in a region where such attire is common, possibly in South Asia.
The image shows a young girl standing next to an adult woman. The girl is wearing a patterned dress with yellow tassels and appears to be engaged in a conversation or interaction with the woman, who is holding a small yellow object in her hand. The setting appears to be indoors, with plain walls and minimal decoration. The woman is dressed in traditional attire, possibly indicating a cultural or regional context. The possible geographic location could be in a region where traditional clothing is common, such as South Asia or the Middle East.
The image shows a young boy dressed in traditional attire, standing next to a woman who appears to be adjusting or tying a decorative string or garland around his neck. The woman is wearing a light-colored sari, and the setting seems to be indoors with soft lighting. The boy's attire and the woman's clothing suggest a cultural or ceremonial context, possibly in a South Asian country.
The image shows a young child standing next to an adult, who appears to be adjusting or holding the child's clothing. The child is wearing a patterned garment, and the adult is dressed in a light-colored outfit. The setting seems to be indoors, with a plain wall in the background. The adult's hair is tied back neatly, and they are wearing earrings. The child's hairstyle is distinctive, with a shaved head and a small tuft of hair on top. The scene suggests a moment of care or preparation, possibly related to a cultural or traditional activity. The possible geographic location is not explicitly clear, but the attire and setting might suggest a region where such clothing is common.
The image shows a woman and a child standing indoors. The woman is adjusting the child's clothing, which appears to be a patterned dress. The child is standing still, facing the wall. The setting seems to be a simple, possibly rural, indoor environment with plain walls and minimal decoration. The woman is wearing traditional attire, including a sari, and the child has a shaved head.
The image shows a dark background with white text written in a script that appears to be Marathi. The text is arranged in several lines, and there is a clear English translation at the bottom. The scene seems to depict a natural setting, possibly outdoors, with no visible structures or objects. The text appears to convey a narrative or poetic message.
The image shows a dark, shadowy area with a structure that appears to be a wall or building facade. The lighting is dim, and the details are not clear. There is a vertical element on the right side, possibly a door or window frame, with some horizontal lines or bars visible. The overall scene suggests an urban or industrial setting.
By 1976, when YUKT decided to make a film “inspired by” Ghashiram Kotwal, the dystopian allegory framed the past decade of Indira Gandhi’s reign. Her installation by the Syndicate as the Prime Minister in 1966 and their deluded certainty that they would be able to manipulate this female puppet (Gudiya) resembles Ghashiram’s elevation by Nana Phadnavis and his subseuent excesses. More closely, Nana’s political intrigues and playing off factions against each other as well as his obsession with power at all costs bears out Hariharan’s statement that “Nana Fadnavis was Indira Gandhi. We were dealing with history, but talking about contemporary times.”
Indira Gandhi then is both Ghashiram the violently cruel legal-administartive system and his wily politician patron Nana Phadnavis, a point made with wonderful economy in the mirroring scenes between the two.
The image shows a silhouette of a person standing in front of a window. The person appears to be looking outside, and the window frames a view of a cloudy sky. The lighting is dim, creating a shadowy effect. The scene suggests an indoor setting, possibly a room with minimal natural light. The person’s posture and the window’s view hint at a contemplative or introspective moment.
The image shows a dark background with a faint, glowing text in a script that appears to be Marathi. The text is written in white and is slightly blurred, making it difficult to read. Below the Marathi text, there is a line of English text that reads, "Ghasi is almost a mirror image of Nanna." The scene appears to be indoors, with minimal lighting, and the focus is on the text itself. The geographic location is not discernible from the image.
The image shows a person wearing a white outfit with a red sash, standing in front of a wall adorned with colorful, intricate designs. The designs appear to be framed and arranged in a grid-like pattern, with each frame containing a unique pattern of flowers and geometric shapes. The person is holding a camera, seemingly taking a photo of the designs. The setting appears to be a traditional or cultural space, possibly a museum or a historical site. The wall and frames suggest a location with a rich artistic heritage, possibly in a region known for its detailed craftsmanship.
Ghashiram's tyrannical control over Pune established.
Nana's marriage, and Ghashiram's anger may appear puzzling to spectators unfamiliar with Tendulkar's play. There, Ghashiram was shown extorting the Kotwali from Nana by prostituting his pubescent daughter Lalitagauri in Act 1. When Ghashiram learns about Nana's (7th) marriage in Act 2 - signalling the end of his dalliance - and discovers the corpse of his daughter he descends into bestial rage which eventually leads to his destruction. The film version, by eliding the sexual transaction between Nana and Ghashiram and focusing on his political role as a spy, gains in scope what it loses in dramatic impact.
The finale
The image shows a group of people dressed in traditional white garments with red accents, gathered outdoors near a pool of water surrounded by greenery. Some individuals are standing under a red canopy, while others are walking or standing nearby. The setting appears to be a sunny day, with trees and a palm tree visible in the background. The scene seems to be taking place in a tropical or subtropical region, possibly in a rural or semi-urban area.
The image shows a group of people dressed in traditional attire, engaging in what appears to be a communal activity near a water body. They are standing under a red canopy, surrounded by lush greenery and palm trees. The setting suggests a tropical or subtropical environment, possibly in a rural or village area.
The image shows a group of people dressed in traditional attire, engaging in what appears to be a cultural or ceremonial event. The setting includes a red backdrop adorned with green leaves and hanging decorations, suggesting a festive or celebratory occasion. The participants are wearing white garments with red accents, and some are performing a dance or ritual. The atmosphere is lively, with individuals actively participating in the event. The geographic location seems to be in a region where such traditional clothing and cultural practices are common, possibly in South Asia.
The image shows a person wearing a light-colored jacket with a visible seam running diagonally across the chest. The background appears to be indoors, with a wall visible on the left side. The person's face is not visible, and the image is slightly blurry. The possible geographic location is a residential or indoor setting, possibly in a temperate climate.
The image shows two individuals dressed in traditional attire, with one holding a clay pot containing green leaves and a small object, while the other holds a plate with a similar object. The background suggests a warm, possibly indoor setting with a red hue. The individuals appear to be engaged in a ceremonial or ritualistic activity. The attire and objects hint at a cultural or religious context, possibly in a South Asian or Middle Eastern region.
The image shows two individuals dressed in traditional attire, with one person holding a pot adorned with green leaves. The background is a plain red wall, and the setting appears to be indoors. The attire suggests a cultural or ceremonial context, possibly in a region where such clothing is common. The text visible in the image is in English, and it reads: "बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बाबा बा�
The image shows a person wearing a white shirt and a red-striped tie, holding a metallic object, possibly a plate or a bowl, in their hand. The background appears to be a plain wall with a reddish hue. The person is standing indoors, and the setting seems to be a casual or professional environment.
The image shows a person wearing a white garment with long sleeves and a red-striped scarf draped over their shoulders. The background is a solid red wall, and there is a round wooden object with a dark object on top of it to the right. The person appears to be standing indoors.
The image shows a person holding a red and white striped fabric, possibly a piece of clothing or a blanket. The background appears to be a red surface, possibly a bed or a couch. The person is wearing a white garment, and the scene seems to be indoors. The possible geographic location is a residential area, likely in a region where such striped fabrics are common.
The image shows a person dressed in traditional attire, holding an object that appears to be a ceremonial or decorative item. The person is wearing a white garment with red accents, and a necklace is visible. The background is a solid red wall. The scene appears to be in a culturally significant or ceremonial setting, possibly in a region where such attire is common.
The image shows a person wearing a white garment with a red sash or strap across their chest. The background is a plain red surface with scattered white objects, possibly petals or small pieces of paper. The person appears to be standing or sitting, with their hands visible in the lower left corner. The setting seems to be indoors, possibly in a ceremonial or formal context. The geographic location is not clear, but it could be in a region where such attire is common, possibly in a cultural or religious event.
The image shows a person wearing a white garment with red and white stripes, standing next to a green surface covered with a pile of yellowish, twisted food items. The background features a red surface with scattered small, round objects. The person appears to be engaged in a task involving the food items.
The image shows a person wearing a white garment, possibly a coat or jacket, with a red background. The person appears to be indoors, and the setting seems to be a formal or professional environment. The red background could indicate a wall or a backdrop, possibly in a conference room or a similar venue.
The image shows a person in traditional attire holding a copper plate filled with coins. The person is wearing a white garment with a red and white striped scarf draped over their shoulder. The setting appears to be indoors, possibly in a rural or cultural context. The person is engaged in a transaction or exchange, as one hand is holding the plate while the other hand is reaching out. The scene suggests a cultural or traditional practice, possibly related to a community or local event.
The image shows a group of people dressed in traditional attire, with vibrant colors and intricate designs. The central figure appears to be a young girl adorned with jewelry, including a headpiece and nose ring, while others around her are wearing garments with red and white patterns. The setting suggests a cultural or ceremonial event, possibly in a region where such attire is common.
The image shows a group of people, mostly women, dressed in traditional attire. The central figure appears to be a young girl wearing a green outfit with a white headpiece. The women are adorned with jewelry, and some are wearing sarees. The background suggests an indoor setting with a red wall or curtain. The possible geographic location could be a region in South Asia, such as India or Nepal, based on the traditional clothing and jewelry.
The image shows a group of people dressed in traditional attire, with a young girl in the foreground wearing a headpiece and jewelry. The background features individuals in red and white garments, with some holding trays of food. The setting appears to be indoors, possibly in a ceremonial or festive environment. The geographic location seems to be in India, based on the traditional clothing and cultural elements visible.
The image shows a group of people dressed in traditional attire, with some wearing red turbans and others in white garments with red accents. A young girl in the foreground is adorned with a headpiece and jewelry, and she is holding a small object. The background includes a crowd of people, some of whom appear to be observing or participating in an event. The setting seems to be outdoors, possibly in a rural or cultural gathering area.
The image shows a group of people gathered in what appears to be a ceremonial or festive setting. A young girl in traditional attire is prominently featured, holding a baby wrapped in a dark cloth. The background includes individuals dressed in white garments with red accents, and some are holding items like plates. The setting suggests a cultural or religious event, possibly in a region where such attire is common.
The image shows a person wearing traditional attire, including a white turban adorned with red and orange tassels, and multiple strands of pearls around their neck. The individual is standing in front of a wooden door, which appears to be part of a rustic or traditional building. The person's attire and surroundings suggest a cultural or regional setting, possibly in South Asia.
The image shows a group of people gathered outdoors in a rural setting. They are standing near a makeshift canopy made of poles and fabric, possibly for shade. The area appears to be dry and grassy, with trees and vegetation in the background. The people are wearing traditional clothing, including head coverings and garments in earthy tones. There is a structure visible in the background, possibly a house or a building.
The image shows four individuals dressed in traditional attire, standing in front of a textured wall. The clothing is vibrant, with patterns and colors that suggest cultural significance. The setting appears to be indoors, with a rustic and historical ambiance. The individuals are engaged in a conversation, with one person facing the others. The wall behind them has a rough, stone-like texture, and there is a small wooden object visible on the wall.
The 'industrial' abhanga:
Vijay Tenduikar wrote an abhang (religious song in Marathi), for the film. We used to call it an industrial abhang. Then we found that the ahhang was beginning to acquire its own religiosiiy. So we overcame the problem in the following way: some workers are working in a quarry. (And of course they hate their work; The things they look forward to are eating, and drinking).
Just then the sutradhar, now dressed as a worker, and two brahmins, also dressed as workers come down a big rock and towards the workers, chanting the abhang. As the abhang progresses, the workers all begin to fall asleep except one worker who keeps working, the sound of metal on rock punctuating the abhang - Sudhir Sonalkar, 'Ghashiram Kotwal: From Stage to Screen'
https://indiancine.ma/documents/BRS
The image shows a person in a white sleeveless shirt holding a tool, possibly a broom or a stick, raised in the air. The background features a mountainous landscape with a clear sky. The person appears to be working outdoors, possibly in a rural or desert area.
The image shows a person standing on rocky terrain, wearing light-colored clothing. The person appears to be holding a small object, possibly a tool or a container, in their hand. The surroundings consist of uneven, jagged rocks, and the area looks dry and barren. The person's bare feet suggest they are navigating the rough terrain carefully. The geographic location seems to be a desert or arid region, possibly in a region with rocky landscapes.
The image shows a person lying against a large, curved rock formation. The rock has a dark, glossy surface with visible cracks and patches of lighter coloration. The person is dressed in traditional attire, including a white robe and a pink head covering. The surrounding area appears arid, with a mix of rocky and sandy textures. The person seems to be resting or sleeping. The geographic location appears to be a desert or semi-desert region, possibly in a region with a warm climate.
The image shows a person holding a tool above their head, with a mountainous landscape in the background. The person appears to be outdoors in a dry, arid environment. The text in the image is not fully visible, but it seems to be in English.
The image shows a rocky terrain with large boulders scattered across the ground. A person wearing a white garment is standing nearby, with only their lower legs visible. The background appears to be a dry, arid landscape with a dusty, barren environment.
The image shows a large, rough-textured rock in a dry, arid environment. A person is standing on the rock, with only their legs visible. The surrounding area appears to be rocky and barren, with a mountainous or hilly backdrop. The person is wearing light-colored pants and sandals. The text in the image is not fully visible, but it appears to be in English.
The image shows a person pointing at a large, textured surface that appears to be a wall or a slab with a rough, uneven surface. The surface has a mix of dark and light areas, with visible cracks and small debris scattered across it. The person is wearing a white outfit with a red belt and a white head covering. The background suggests an outdoor or semi-outdoor environment, possibly in a region with a warm climate.
The image shows a person wearing a pink turban, with their back turned to the viewer. The background appears to be a misty or foggy outdoor setting, possibly in a rural or natural environment. The person is dressed in light-colored clothing, and the overall scene suggests a calm and serene atmosphere.
The image shows a group of people in a rugged outdoor setting. One person is standing in a shallow, muddy water area, holding a container, possibly for collecting water or other materials. The surroundings include rocks, uneven terrain, and a wall in the background. Several individuals are seated on the rocks or wall, appearing relaxed or engaged in conversation. The environment suggests a rural or semi-urban area, possibly in a region with limited infrastructure.
The image shows three individuals walking on a rocky terrain. They are dressed in white garments, and their attire suggests a cultural or traditional context. The landscape appears arid, with scattered rocks and dry vegetation. The sky is clear, and the overall setting suggests a rural or remote area.
The image shows a rugged, rocky terrain with a group of individuals dressed in white garments walking along a narrow path. The environment appears to be dry and barren, with large boulders and uneven ground. The group seems to be moving cautiously, possibly navigating through a challenging landscape. The text in the image reads, "His poems were inspired by the protest songs of the North."
The image shows three individuals dressed in light-colored clothing, with turbans on their heads. They appear to be engaged in a task involving a large, flat stone or slab, possibly in an outdoor setting. The ground around them is rocky and uneven, suggesting a rural or undeveloped area. The scene seems to be taking place in a warm climate, possibly in a region where such attire is common.
The image shows a rugged, rocky terrain with a large boulder prominently visible. The rocks appear weathered and uneven, suggesting a natural, untouched environment. The area seems to be a part of a mountainous or high-altitude region. The text in the image reads, "He was buried alive for this."
The image shows a person standing on a rocky cliff, carrying a bundle of materials on their back. The surroundings appear rugged and barren, with a clear sky above. The person seems to be engaged in a task that involves balancing or carrying the load. The text in the image reads, "He was a slave of slaves. He was a slave of slaves."
The image shows a rugged, rocky terrain with a group of individuals dressed in white garments. They appear to be engaged in a ceremonial or spiritual activity, with some of them raising their arms and others gesturing towards the rocks. The scene is set in a natural environment, possibly resembling a mountainous or desert region. The text in the image reads: "the poet and his poor peasant folks ascended the stairs to heaven!"
The image shows a group of people in a rocky outdoor setting. Some individuals are standing, while others are seated on the rocks. The scene appears to be a gathering or a protest, as one person is raising their arms in a gesture of defiance or solidarity. The environment suggests a rugged, natural landscape, possibly in a mountainous or rocky region. The text in the image reads, "Greetings to the oppressed classes!"
Drought in the region: workers play Holi as Ghashiram sets up the system: of Nana's enjoyment.
The image shows a group of people walking across a dry, sandy landscape. They are dressed in light-colored clothing, and some are carrying items on their heads. In the background, there are flat, rocky hills and sparse vegetation. The terrain appears arid, and the group seems to be moving in a line.
The image shows two individuals standing outdoors, with one leaning against a tree and the other standing nearby. They are dressed in traditional attire, with one wearing a red turban and the other a red hat. The background appears to be a dry, arid landscape with sparse vegetation and trees. The text in the image reads, "so that I may throw them on my friends..."
The image shows a group of people dressed in traditional attire, gathered outdoors in a rural setting. The individuals are wearing white garments with red accents, and some have turbans or head coverings. The background features a rocky landscape with sparse vegetation, including a few trees. The scene appears to be a social gathering or celebration, with people engaged in conversation or activities. The geographic location seems to be a rural area in a region with a warm climate, possibly in South Asia.
The image shows a group of people standing in a circle under a cluster of tall, thin trees with sparse foliage. The ground is dry and sandy, and the background features rolling hills or mountains. The people appear to be wearing traditional clothing, with some in red and others in white. The scene suggests a rural or semi-arid environment.
The image shows a group of people dressed in traditional attire, dancing in a circle on a dry, open ground. The background features a mountainous landscape with sparse vegetation. The people appear to be engaged in a lively celebration or cultural event.
The image shows a dark background with white text written in a script that appears to be Marathi. The text is arranged in a block format, with some parts appearing to be a poem or a narrative. The text is written in a traditional style, with a mix of uppercase and lowercase letters. The content seems to be a poetic or literary piece, possibly reflecting cultural or historical themes. The geographic location is not explicitly mentioned, but the script suggests it is from a region where Marathi is spoken.
Madhavrao plots to get rid of Nana.
The image shows a person climbing a tall tree in a dense forest. The individual is wearing a white outfit and a red head covering. The surrounding area is lush with greenery, and the sunlight filters through the leaves, creating a serene and natural atmosphere. The scene appears to be in a tropical or subtropical region, possibly in a forested area.
Return of the sutradhara and the theatrical spectator who is also the citizen-spectator of the political intrigues
The image shows a stone wall made of large rectangular blocks, with a narrow pathway running alongside it. Two individuals are walking along the path, dressed in traditional attire. The wall appears to be part of an older structure, possibly a boundary or retaining wall. The setting suggests a rural or historical area, likely in a region where such stone construction is common.
The image shows two individuals dressed in traditional attire, sitting on stone steps beside a large, ancient-looking stone wall with arched openings. The wall appears to be part of a historical structure, possibly a fort or temple, with a tree visible in the background. The individuals are engaged in conversation, and the setting suggests a warm, sunny day. The stonework and architecture hint at a location in South Asia, possibly India.
The image shows a group of individuals dressed in white garments with red accents, gathered near a stone structure. Some are standing on steps, while others are seated or leaning against the stone wall. The setting appears to be outdoors, with a stone wall featuring small holes or indentations visible in the background. The scene suggests a communal or religious gathering, possibly in a rural or historical area.
The revolt, and reference to the bonded labourers. at another point we jump nearly a century to 1889, where the Sutradhar announces the British abolition of bonded labour in India, only to underline caustically.
The image shows a group of individuals in traditional attire, with some wearing white garments and red head coverings. They appear to be engaged in a structured activity, possibly a performance or a ceremonial gathering. The setting seems to be indoors, with wooden beams and a simple architectural design visible in the background. The scene suggests a cultural or historical context, possibly in a region known for such attire and customs.
Nana’s “spiritual” discourse to Ghashiram in prison is an elaboration from a passage in the play, but it gains in intensity and irony when one remebers passages from his autobiography which are used in voice-over at the beginning.
The image shows a person dressed in traditional attire, standing near a barred window. The individual appears to be engaged in a conversation, gesturing with their hands. The setting suggests an indoor environment with a rustic or historical aesthetic. The walls are painted in muted tones, and the window frame is dark and worn. The person's attire includes a turban and jewelry, hinting at cultural or regional significance. The text in the image reads, "It shows how loyal you are."
The image shows two individuals in a dimly lit room with a window in the background. One person is wearing traditional attire, including a pink hat and multiple necklaces, while the other is standing in the shadows. The setting appears to be historical or cultural, possibly in a region with a rich tradition of storytelling or folklore. The text in the image reads: "We must learn to recognize Maya as one of these mythad forms."
The image shows a gathering of people, likely engaged in a communal or religious activity. The setting appears to be outdoors, with a dark background that suggests it might be evening or nighttime. The people seem to be focused on a central point, possibly a speaker or a ritualistic object. The atmosphere appears lively and purposeful.
This mirroring principle is used to wonderfully evocative effect in the sequence dealing with the death of the young Peshwa Madhavrao II. Unlike the 19th century celebrated historical play Sawai Madhvrao Yancha Mrityu (The Death of Madhavrao II, 1893), this film is not invested in the psychology of the Peshwa. In fact his death – whether suicide or accident – happens off-screen and the camera pans up a tower, the same tower from which a Mahar, singing a song of his oppression by the upper castes had fallen to his death much earlier in the film.
The image shows a person dressed in traditional attire, including a white robe and a turban, sitting in a calm and composed manner. The background appears to be a plain wall with a blue vertical element on the left side. The person's posture and attire suggest a setting of cultural or religious significance. The text in the image reads, "with a show of humility." The setting appears to be in a region where traditional clothing is common, possibly in South Asia or the Middle East.
The image shows a person dressed in traditional white attire, sitting on the floor with a red cushion in front of them. Another person, also dressed in white, is standing nearby, engaging in what appears to be a conversation or interaction. The setting seems to be indoors, with a plain wall and a blue-painted section visible in the background. The scene suggests a cultural or religious gathering, possibly in a region where such attire is common.
The image shows a person wearing a traditional hat and a red garment, standing in front of a tiled roof. The person appears to be facing away from the camera, with a clear sky in the background. The tiled roof suggests a rural or traditional architectural style, possibly indicative of a region with historical or cultural significance.
The image shows a person standing behind bars, holding onto the bars with both hands. The person is wearing a white shirt with a red sash or belt. The background appears to be a dark, enclosed space, possibly a cell or a small room. The person's face is partially visible, and they seem to be smiling or laughing. The setting suggests a confined area, possibly in a prison or a similar facility. The person's attire and the bars indicate a formal or official context.
The image shows a person in a white garment with a red sash, walking up a narrow staircase. The walls are old and worn, with visible cracks and peeling paint. The staircase leads to a small window at the top, allowing light to filter in. The scene appears to be in a rustic or historical building, possibly in a rural or older urban area.
The image shows a dark interior with two arched windows. Through the left window, you can see a balcony with a white railing and some greenery outside. The right window reveals a glimpse of a tree and part of a structure. The overall scene suggests a quiet, possibly residential or historical building.
The image shows a person wearing a red hat and a white outfit with a red scarf draped over their shoulder. They are standing near a structure with a partially visible roof, possibly a building or a tower. The background includes greenery and distant hills under a clear sky. The person appears to be looking away from the camera.
The image shows a dark background with white text written in a script that appears to be Gujarati. Below the Gujarati text, there is an English translation that reads, "Land is measured quite precisely." The text seems to discuss the accuracy of land measurement in a specific region. The geographic location is likely in the state of Gujarat in India, as the script and the content suggest a local context.
The image shows a dark background with white text written in a script that appears to be Marathi. The text is arranged in several lines, and the script is clear and legible. The text appears to be a quote or a message, possibly conveying a moral or philosophical idea. The geographic location is not discernible, but the script suggests it could be from a region where Marathi is spoken, such as Maharashtra in India.
The image shows two individuals standing on a rocky, mountainous terrain. One person is wearing a light green outfit with a red scarf, while the other is dressed in a beige shirt and white pants, holding a long stick. The background consists of rugged hills and valleys, with sparse vegetation. The scene appears to be in a rural or remote area, possibly in a region with arid or semi-arid climate.
The image shows a black background with white text detailing a collaborative effort to digitize a film. Below the text, there are logos of organizations involved in the project, including the German Embassy in New Delhi. The logos suggest a connection to cultural and artistic initiatives. The text mentions the film "Ghasiram Kotwal" and its digitization, highlighting the collaboration between institutions in India and Germany.
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